Calvino labels it a "harsh, mangled, violent Tuscan, but in the end one without vices, except possibly for the conceitedness of the dialect that poses as a language with almost parodistic
effects" (Italian Folktales xxv).
This does not involve any parody: "the parodistic
shift, the laugh of parody, depends on a context and on a reception in which subversive confusion can be encouraged" (BUTLER, 2003, p.
This article renews the discussion of "Neue Lebensansichten eines Katers" by analyzing the as-yet-overlooked implications of how the text's parodistic
arrangement foregrounds the role of discursive authority in both narrative and science making as the aim of Wolf's satire.
No actor now, except in parody, has any desire to replicate that parodistic
With the problem of censorship for the splatter-horror genre having been anticipated in the film already, "the censoring of amputation scenes led to 'amputations' within the film material" and increased paradoxically the originally intended parodistic
In this respect, Claus speaks about "a parodistic
indication that people simply believe in everything that is presented to them as a totem" (Verschooten 4).
small groups of pumpkin players, with parodistic
intent), the whistles [used by musicians] and the archives of Italian and international rock and popular music festivals that are tenaciously and admirably successful in such tiny locations as Castagnole delle Lanze and Portacomaro.
gift, manifested from youth, shines through A Christmas Garland (1912), with its brilliant mimicry of Shaw, Belloc, Chesterton, Kipling, Henry James, and umpteen others.
It is here, in the parodistic
adoption of the most misogynistic attitudes, that mainstream comedy performed by a male comedian presents the most assertive rejection of male hegemony on the premise of intellectual superiority and the limitations of the patronizing assignment of gender roles.
Much campy talk is parodistic
, and while that may be fun at a dinner party, if you're out to make someone you turn off the camp.
The argument as a whole in Beckett's case leads to Jebb's seemingly predetermined conclusion--that Beckett himself was "an artist whose ego is no longer 'itself to itself; who cannot reach beyond the solipsism of parodistic
, nihilistic, anti-matter, whose aesthetic form explores and exposes the void of negative theism, and whose struggle is to 'find words for his making'" (122).
And as Joseph Valente points out, Bloom's use of the word "Love" immediately calls forth from the other, "intruding" voice in "Cyclops" a parodistic
list of "love" phrases that inflates the word to banal meaninglessness ("The Politics of Joyce's Polyphony" 64).